Magnificent visuals apart, Bajirao Mastani might be a version of history that I wish is true.

Any film that makes you go into a thought circle like that has won me. While Tamasha might have aimed at it, it won’t make you get up and relook your life and the many faces you carry. It won’t make you rip off the mask you wear and let the beast in you out as soon as you walk out of the theater. But, if it makes you think in that direction for even a little bit, if it makes you look at your bipolar self which might just be normal, while making a genuine attempt at telling the same story differently, hasn’t it done its job?

If the film weren’t directed by 11 directors and written by even more people, it would come across as autobiographical. This is as much a compliment to the directors as it is to the editor. Dissecting the film director-wise or story-wise would be grave injustice to how smoothly it has all fallen in place.

They are stylish snippets that have little detail in the telling. Yet again, we have a film based on a real life personality that doesn’t tell us much more about the personality than what we new from newspapers or a quick Internet search.

Titli pretty much says what it has to say in its two-minute trailer. After that it is like the follow-up slides in a presentation that elaborate on each point. The expansion could have added a lot of value, but doesn’t quite do it.

Manjhi is one of those films that are depressing and yet are meant to give hope. Like Dashrath say, if he can try to break a mountain, then why can’t you take a crack at that mountainous problem in your life?

It is hardly flawless, but it glues you – body and mind alert – to the story. A thing you can only rarely say for a thriller. It is not a visual treat that ought to be watched in the theater, but it is a film which can be appreciated and encouraged for its writing. And of course, no home theater can enhance the thrill like a dark cinema hall

Despite being set in a crematorium and having a sense of morbidity throughout, Masaan isn’t grim. Nor is it gay despite its wit. Masaan carries equanimity of sorts in the “life is what it is” kind of a way with simplicity and flair in equal measure.

Killa makes you feel you have seen very little, like a lot was left unexplored. This is without even brining in comparisons from films like Balak Palak or Vihir or Shaala or their Hindi second cousin like Udaan. In absolute terms to, Killa falls short after you’ve taken in the initial beauty of its frames.

I could go into a lot more detail about how the film breezes through the inside view of so many little events of our day-to-day lives, but it is something you should experience rather than read.

Yes, go ahead and witness this coming of age of feelings.